Invasion of Your Privacy
Invasion of Your Privacy is the second album by American heavy metal band Ratt. It was released in 1985 and featured the singles "Lay It Down", "You're in Love" and "What You Give Is What You Get". Beau Hill produced the album, the cover-model is Playboy model Marianne Gravatte, who made an appearance in the "Lay It Down" music video. Stephen Pearcy – lead vocals Robbin Crosby – lead guitar, backing vocals Warren DeMartini – lead guitar, backing vocals Juan Croucier – bass guitar, backing vocals Bobby Blotzer – drums, percussion Beau Hill – producer, engineer Jim Faraci, Stephen Benben – engineers Ted Jensen – mastering at Sterling Sound, New York Album Lyrics
Miami Vice is an American television crime drama series created by Anthony Yerkovich and executive produced by Michael Mann for NBC. The series starred Don Johnson as James "Sonny" Crockett and Philip Michael Thomas as Ricardo "Rico" Tubbs, two Metro-Dade Police Department detectives working undercover in Miami; the series ran for five seasons on NBC from 1984 to 1989. The USA Network began airing reruns in 1988, broadcast an unaired episode during its syndication run of the series on January 25, 1990. Unlike standard police procedurals, the show drew upon 1980s New Wave culture and music; the show became. It has been called one of the "Top 50 TV Shows". People magazine stated that Miami Vice was the "first show to look new and different since color TV was invented". Michael Mann directed a film adaptation of the series, released July 28, 2006. Vin Diesel and Chris Morgan are working on a TV series reboot that could be part of the NBC 2018–19 TV season. Legend has it that the head of NBC's Entertainment Division, Brandon Tartikoff, wrote a brainstorming memo that read "MTV cops", presented it to series creator Anthony Yerkovich a writer and producer for Hill Street Blues.
Yerkovich, indicates that he devised the concept after learning about asset forfeiture statutes that allowed law enforcement agencies to confiscate the property of drug dealers for official use. The initial idea was for a movie about a pair of vice cops in Miami. Yerkovich turned out a script for a two-hour pilot, titled Gold Coast, but renamed Miami Vice. Yerkovich was drawn to South Florida as a setting for his new-style police show. In keeping with the show's namesake, most episodes focused on combating drug trafficking and prostitution. Episodes ended in an intense gun battle, claiming the lives of several criminals before they could be apprehended. An undercurrent of cynicism and futility underlies the entire series; the detectives reference the "Whac-A-Mole" nature of drug interdiction, with its parade of drug cartels replacing those that are apprehended. Co-executive producer Yerkovich explained: Even when I was on Hill Street Blues, I was collecting information on Miami, I thought of it as a sort of a modern-day American Casablanca.
It seemed to be an interesting socio-economic tide pool: the incredible number of refugees from Central America and Cuba, the extensive Cuban-American community, on top of all that the drug trade. There is a fascinating amount of service industries that revolve around the drug trade—money laundering, bail bondsmen, attorneys who service drug smugglers. Miami has become a sort of Barbary Coast of free enterprise gone berserk; the choice of music and cinematography borrowed from the emerging New Wave culture of the 1980s. As such, segments of Miami Vice would sometimes use music-based stanzas, a technique featured in Baywatch; as Lee H. Katzin, one of the show's directors, remarked, "The show is written for an MTV audience, more interested in images and energy than plot and character and words." These elements made the series into an instant hit, in its first season saw an unprecedented fifteen Emmy Award nominations. While the first few episodes contained elements of a standard police procedural, the producers soon abandoned them in favor of a more distinctive style.
Influenced by an Art Deco revival, no "earth tones" were allowed to be used in the production by executive producer Michael Mann. A director of Miami Vice, Bobby Roth, recalled: There are certain colors you are not allowed to shoot, such as red and brown. If the script says'A Mercedes pulls up here,' the car people will show you three or four different Mercedes. One will be white, one will be black, one will be silver. You will not get a brown one. Michael knows. Miami Vice was one of the first American network television programs to be broadcast in stereophonic sound, it was mixed in 4 channel stereo for its entire run. Nick Nolte and Jeff Bridges were considered for the role of Sonny Crockett, but since it was not lucrative for film stars to venture into television at the time, other candidates were considered. Mickey Rourke was considered for the role, but he turned down the offer. Larry Wilcox, of CHiPs, was a candidate for the role of Crockett, but the producers felt that going from one police officer role to another would not be a good fit.
After dozens of candidates and a twice-delayed pilot shooting, Don Johnson and Philip Michael Thomas were chosen as the vice cops. For Johnson, by 34 years old, NBC had particular doubts about the several earlier unsuccessful pilots in which he had starred. After two seasons, Johnson threatened to walk from the series as part of a publicized contract dispute; the network was ready to replace him with Mark Harmon, who had departed St. Elsewhere, but the network and Johnson were able to resolve their differences and he continued with the series until its end. Jimmy Smits played Crockett's partner in the pilot episode. Before production started, the idea was to do all or most of the exterior filming in Los Angeles, pass it off to viewers as urban Miami—an approach put into practice two decades during the filming of CSI: Miami, but instead, nearly all filming, both exterior and interior, was done in Florida. Many episodes of Miami Vice were filmed in the South Beach section of Miami Beach, an area which, at the time, was blighted by poverty and crime, with its demographic so deteriorated that there "simply weren't many people on the street.
Ocean Drive's hotels were filled with elderly Jewish retirees, many of them frail, subsisting on
The bass guitar is a plucked string instrument similar in appearance and construction to an electric guitar, except with a longer neck and scale length, four to six strings or courses. The four-string bass is tuned the same as the double bass, which corresponds to pitches one octave lower than the four lowest-pitched strings of a guitar, it is played with the fingers or thumb, or striking with a pick. The electric bass guitar has pickups and must be connected to an amplifier and speaker to be loud enough to compete with other instruments. Since the 1960s, the bass guitar has replaced the double bass in popular music as the bass instrument in the rhythm section. While types of basslines vary from one style of music to another, the bassist plays a similar role: anchoring the harmonic framework and establishing the beat. Many styles of music include the bass guitar, it is a soloing instrument. According to the New Grove Dictionary of Music and Musicians, an "Electric bass guitar a Guitar with four heavy strings tuned E1'-A1'-D2-G2."
It defines bass as "Bass. A contraction of Double bass or Electric bass guitar." According to some authors the proper term is "electric bass". Common names for the instrument are "bass guitar", "electric bass guitar", "electric bass" and some authors claim that they are accurate; the bass guitar is a transposing instrument, as it is notated in bass clef an octave higher than it sounds. In the 1930s, musician and inventor Paul Tutmarc of Seattle, developed the first electric bass guitar in its modern form, a fretted instrument designed to be played horizontally; the 1935 sales catalog for Tutmarc's electronic musical instrument company, featured his "Model 736 Bass Fiddle", a four-stringed, solid-bodied, fretted electric bass guitar with a 30 1⁄2-inch scale length, a single pick up. The adoption of a guitar's body shape made the instrument easier to hold and transport than any of the existing stringed bass instruments; the addition of frets enabled bassists to play in tune more than on fretless acoustic or electric upright basses.
Around 100 of these instruments were made during this period. Audiovox sold their “Model 236” bass amplifier. Around 1947, Tutmarc's son, began marketing a similar bass under the Serenader brand name, prominently advertised in the nationally distributed L. D. Heater Music Company wholesale jobber catalogue of 1948. However, the Tutmarc family inventions did not achieve market success. In the 1950s, Leo Fender and George Fullerton developed the first mass-produced electric bass guitar; the Fender Electric Instrument Manufacturing Company began producing the Precision Bass in October 1951. The "P-bass" evolved from a simple, un-contoured "slab" body design and a single coil pickup similar to that of a Telecaster, to something more like a Fender Stratocaster, with a contoured body design, edges beveled for comfort, a split single coil pickup; the "Fender Bass" was a revolutionary new instrument for gigging musicians. In comparison with the large, heavy upright bass, the main bass instrument in popular music from the early 1900s to the 1940s, the bass guitar could be transported to shows.
When amplified, the bass guitar was less prone than acoustic basses to unwanted audio feedback. In 1953 Monk Montgomery became the first bassist to tour with the Fender bass guitar, in Lionel Hampton's postwar big band. Montgomery was possibly the first to record with the bass guitar, on July 2, 1953 with The Art Farmer Septet. Roy Johnson, Shifty Henry, were other early Fender bass pioneers. Bill Black, playing with Elvis Presley, switched from upright bass to the Fender Precision Bass around 1957; the bass guitar was intended to appeal to guitarists as well as upright bass players, many early pioneers of the instrument, such as Carol Kaye, Joe Osborn, Paul McCartney were guitarists. In 1953, following Fender's lead, Gibson released the first short-scale violin-shaped electric bass, with an extendable end pin so a bassist could play it upright or horizontally. Gibson renamed the bass the EB-1 in 1958. In 1958, Gibson released the maple arched-top EB-2 described in the Gibson catalogue as a "hollow-body electric bass that features a Bass/Baritone pushbutton for two different tonal characteristics".
In 1959 these were followed by the more conventional-looking EB-0 Bass. The EB-0 was similar to a Gibson SG in appearance. Whereas Fender basses had pickups mounted in positions in between the base of the neck and the top of the bridge, many of Gibson's early basses featured one humbucking pickup mounted directly against the neck pocket; the EB-3, introduced in 1961 had a "mini-humbucker" at the bridge position. Gibson basses tended to be smaller, sleeker instruments with a shorter scale length than the Precision. A number of other companies began manufacturing bass guitars during the 1950s: Kay in 1952, Hofner and Danelectro in 1956, Rickenbacker in 1957 and Burns/Supersound in 1958. 1956 saw the appearance at the German trade fair "Musikmesse Frankfurt" of the distinctive Höfner 500/1 violin-shaped bass made using violin construction techniques by Walter Höfner, a second-generation violin luthier. The design was known popularly as the "Beat
A drum kit — called a drum set, trap set, or drums — is a collection of drums and other percussion instruments cymbals, which are set up on stands to be played by a single player, with drumsticks held in both hands, the feet operating pedals that control the hi-hat cymbal and the beater for the bass drum. A drum kit consists of a mix of drums and idiophones – most cymbals, but can include the woodblock and cowbell. In the 2000s, some kits include electronic instruments. Both hybrid and electronic kits are used. A standard modern kit, as used in popular music and taught in music schools, contains: A snare drum, mounted on a stand, placed between the player's knees and played with drum sticks A bass drum, played by a pedal operated by the right foot, which moves a felt-covered beater One or more toms, played with sticks or brushes A hi-hat, played with the sticks and closed with left foot pedal One or more cymbals, mounted on stands, played with the sticksAll of these are classified as non-pitched percussion, allowing the music to be scored using percussion notation, for which a loose semi-standardized form exists for both the drum kit and electronic drums.
The drum kit is played while seated on a stool known as a throne. While many instruments like the guitar or piano are capable of performing melodies and chords, most drum kits are unable to achieve this as they produce sounds of indeterminate pitch; the drum kit is a part of the standard rhythm section, used in many types of popular and traditional music styles, ranging from rock and pop to blues and jazz. Other standard instruments used in the rhythm section include the piano, electric guitar, electric bass, keyboards. Many drummers extend their kits from this basic configuration, adding more drums, more cymbals, many other instruments including pitched percussion. In some styles of music, particular extensions are normal. For example, some rock and heavy metal drummers make use of double bass drums, which can be achieved with either a second bass drum or a remote double foot pedal; some progressive drummers may include orchestral percussion such as gongs and tubular bells in their rig. Some performers, such as some rockabilly drummers, play small kits that omit elements from the basic setup.
Before the development of the drum set and cymbals used in military and orchestral music settings were played separately by different percussionists. In the 1840s, percussionists began to experiment with foot pedals as a way to enable them to play more than one instrument, but these devices would not be mass-produced for another 75 years. By the 1860s, percussionists started combining multiple drums into a set; the bass drum, snare drum and other percussion instruments were all struck with hand-held drum sticks. Drummers in musical theater shows and stage shows, where the budget for pit orchestras was limited, contributed to the creation of the drum set by developing techniques and devices that would enable them to cover the roles of multiple percussionists. Double-drumming was developed to enable one person to play the bass and snare with sticks, while the cymbals could be played by tapping the foot on a "low-boy". With this approach, the bass drum was played on beats one and three. While the music was first designed to accompany marching soldiers, this simple and straightforward drumming approach led to the birth of ragtime music when the simplistic marching beats became more syncopated.
This resulted in dance feel. The drum set was referred to as a "trap set", from the late 1800s to the 1930s, drummers were referred to as "trap drummers". By the 1870s, drummers were using an "overhang pedal". Most drummers in the 1870s preferred to do double drumming without any pedal to play multiple drums, rather than use an overhang pedal. Companies patented their pedal systems such as Dee Dee Chandler of New Orleans 1904–05. Liberating the hands for the first time, this evolution saw the bass drum played with the foot of a standing percussionist; the bass drum became the central piece around which every other percussion instrument would revolve. William F. Ludwig, Sr. and his brother, Theobald Ludwig, founded the Ludwig & Ludwig Co. in 1909 and patented the first commercially successful bass drum pedal system, paving the way for the modern drum kit. Wire brushes for use with drums and cymbals were introduced in 1912; the need for brushes arose due to the problem of the drum sound overshadowing the other instruments on stage.
Drummers began using metal fly swatters to reduce the volume on stage next to the other acoustic instruments. Drummers could still play the rudimentary snare figures and grooves with brushes that they would play with drumsticks. By World War I, drum kits were marching band-style military bass drums with many percussion items suspended on and around them. Drum kits became a central part of jazz Dixieland; the modern drum kit was developed in the vaudeville era during the 1920s in New Orleans. In 1917, a New Orleans band called "The Original Dixieland Jazz Band " recorded jazz tunes that became hits all o
RPM was a Canadian music industry publication that featured song and album charts for Canada. The publication was founded by Walt Grealis in February 1964, supported through its existence by record label owner Stan Klees. RPM ceased publication in November 2000. RPM stood for "Records, Music"; the magazine was reported to have variations in its title over the years such as RPM Weekly and RPM Magazine. RPM maintained several format charts, including Top Singles, Adult Contemporary, Urban, Rock/Alternative and Country Tracks for country music. On 21 March 1966, RPM expanded its Top Singles chart from 40 positions to 100. On December 6, 1980 the main chart became a Top 50 chart and remained this way until August 4, 1984 whereupon it returned to being a Top 100 Singles chart. For the first several weeks of its existence, the magazine did not compile a national chart, but printed the current airplay lists of several major market Top 40 stations. A national chart was introduced beginning with the June 22, 1964 issue, with its first-ever national #1 single being "Chapel of Love" by The Dixie Cups.
Prior to the introduction of RPM's national chart, the CHUM Chart from Toronto radio station CHUM was considered the de facto national chart. The final #1 single in the magazine was "Music" by Madonna; the modern Juno Awards had their origins in an annual survey conducted by RPM since its founding year. Readers of the magazine were invited to mail in survey ballots to indicate their choices under various categories of people or companies; the RPM Awards poll was transformed into a formal awards ceremony, The Gold Leaf Awards in 1970. These became the Juno Awards in following years; the RPM Awards for 1964 were announced in the 28 December 1964 issue: Top male vocalist: Terry Black Top female singer: Shirley Matthews Most promising male vocalist: Jack London Most promising female vocalist: Linda Layne Top vocal instrumental group: The Esquires Top female vocal group: Girlfriends Top instrumental group: Wes Dakus & The Rebels Top folk group: The Courriers Top country male singer: Gary Buck Top country female singer: Pat Hervey Industry man of the year: Johnny Murphy of Cashbox Canada Top record company: Capitol Records of Canada Top Canadian Content record company: Capitol Records of Canada Top national record promoter: Paul White, Capitol Records of Canada Top regional record promoter: Ed Lawson, Quality Records Top album of the year: That Girl by Phyllis MarshallA column on page 6 of that issue noted that the actual vote winner for Top Canadian Content record company was disqualified due to a conflict of interest involving an employee of that company, working for RPM.
Therefore, runner-up Capitol Records was declared the category's winner. The Annual RPM Awards for 1965 were announced in the 17 January 1966 issue, with more country music categories than the previous year: Top male vocalist: Bobby Curtola Top female singer: Catherine McKinnon Most promising male vocalist: Barry Allen Most promising female vocalist: Debbie Lori Kaye Top vocal/instrumental group: The Guess Who Top female vocal group: Girlfriends Top instrumental group: Wes Dakus & The Rebels Top folk group: Malka and Joso Top folk singer: Gordon Lightfoot Best produced single: "My Girl Sloopy", Little Caesar and the Consuls Best produced album: Voice of an Angel by Catherine McKinnon Top country male singer: Gary Buck Top country female singer: Dianne Leigh Most promising country male singer: Angus Walker Most promising country female singer: Sharon Strong Top country instrumental vocal group: Rhythm Pals Top country instrumentalist: Roy Penney Top country radio personality: Al Fisher, CFGM Toronto Top Canadian disc jockey: Chuck Benson, CKYL Peace River Top record company: Capitol Records of Canada Top Canadian Content record company: Capitol Records of Canada Top national record promoter: Paul White, Capitol Records of Canada Top regional record promoter: Charlie Camilleri, Quality Records The winners were: Top male vocalist: Barry Allen Top female singer: Catherine McKinnon Most promising male vocalist: Jimmy Dybold Most promising female vocalist: Lynda Lane Top vocal/instrumental group: Staccatos Top female vocal group: Allan Sisters Top instrumental group: Wes Dakus & The Rebels Top folk group: 3's a Crowd Top folk singer: Gordon Lightfoot Best produced single: "Let's Run Away", Staccatos Top country male singer: Gary Buck Top country female singer: Dianne Leigh Most promising country male singer: Johnny Burke Most promising country female singer: Debbie Lori Kaye Top country instrumental vocal group: Mercey Brothers Top country instrumentalist: Roy Penney Top country radio personality: Ted Daigle Top country radio station: CFGM Top record company: Capitol Records of Canada Top Canadian Content record company: Red Leaf Records Top national record promoter: Paul White, Capitol Records of Canada Top regional record promoter: Al Nair Top Canadian music industry man of the year: Stan Klees List of number-one singles in Canada List of RPM number-one alternative rock singles List of RPM number-one country singles List of RPM number-one dance singles RPM archive charts RPM Library and Archives Canada: "The RPM Story" The Canadian Encyclopedia: RPM Charts archive from 1964 to 1999 on worldcharts.co.uk Megan Thow.
"Critical Miss". Ryerson Review of Journalism. Archived from the original on 27 September 2007. Retrieved 15 September 2007
Stephen Eric Pearcy is an American musician. He is best known as the founder and songwriter of the heavy metal band Ratt, he has created the bands Firedome, Crystal Pystal, Mickey Ratt and Ratt Arcade, Vicious Delite, Vertex. He has recorded five records as a solo artist. Pearcy has worked as an actor, playing the killer hippie, Timothy Bach, in the horror film Camp Utopia, and a small part in the short lived TV series "Wicked City"", with Mickey Ratt music and cover band in the episode. With music in many feature films 1985 to present. In his early teens, Pearcy aspired to be a top fuel race car driver and expressed no desire to pursue a career in music, he listened to music and went to concerts in the 1970s. Fate intervened in the form of a hit-and-run driver who struck Pearcy while he was riding his bike one night during the summer of 1970. While he was in the hospital for six months recovering from his accident, somebody gave him an acoustic guitar. After fiddling around with the guitar for a short time, Pearcy decided to shift his vocational focus from driving race cars to playing music, while never losing his love for the sport.
He sang, created the bands "Firedome" and "Crystal Pystal" until creating and writing original music for his band which he named Mickey Ratt, created in San Diego in 1977. Pearcy moved his band to Los Angeles after seeing a local band, Van Halen, at The Whisky a Go Go on Sunset Blvd in 1978. After he and the band moved to Los Angeles in 1980, the band's name was shortened to Ratt in 1981 and the original lineup was solidified in 1983. Playing clubs like The Troubadour, The Roxy and The Whisky, Ratt amassed a large local following. After releasing an eponymous six song EP in 1983 selling 200,000 copies, Ratt released their breakthrough album Out of the Cellar on Atlantic Records in 1984. Opening arena tours for ZZ Top, Ozzy Osbourne and Billy Squier. OOTC went on to sell five times multi-platinum. RATT was heading their own arena tours around the world for the next ten years. After releasing four Multi platinum records and three gold albums, Pearcy left the band in February 1992. Pearcy and former Cinderella drummer Fred Coury formed the band Arcade in 1992.
Arcade released a self-titled album in another album the following year. In 1996, Pearcy dabbled with an industrial metal band called Vertex. Pearcy reunited with Ratt in 1996, only to leave the band for a second time in 2000 on the eve of a tour due to differences over financial allocation amongst band members. Pearcy has recorded four solo records under his own indie label Top Fuel Records; the latest "SMASH" released 2017. Stephen has written music for NHRA ESPN2 Drag Racing. While co sponsoring Top Fuel cars since the mid 1980s. Pearcy has been touring as a solo artist for sometime with his return to the band he created over the years, RATT; the new line up consists of drummer Greg D'Angelo, guitarist Frankie Wilsey, Arcade-Sea Hags, bassist Matt Thorn in early version of RATT 1982. The not so separated, soon to be divorced frontman is now in a relationship; the last two years has seen Pearcy go thru two full knee surgeries, the most recent as of Dec. 27, 2018. Not one to get to anything in his way, he will continues to record constantly.
On April 24, 2014 it was announced that Pearcy had quit Ratt to work on his label Top Fuel Records and other music business ventures, Creating - Marketing, "Mic Knuckles writing songs for TV-Movie production. Pearcy adds Author to his credit with his first book 2014 "Sex, Drugs & Ratt n' Roll", another book in progress for 2019-2010. Pearcy has just released his 5th solo record "View To A Thrill", written by Pearcy and long time guitarist, co writer Erik Ferentinos Nov. 2018. The new breed of RATT, with new musicians Jordan Ziff, Chris Sanders and drummer Pete Holmes performed a hand full of shows late 2018; the RATT World Tour starting May 2019. Original members Stephen Pearcy and Juan Croucier begin writing new RATT music for the tour 2019. Stephen Pearcy Official Website
Queensrÿche is an American heavy metal band. It formed in 1980 in Washington out of the local band The Mob; the band has released 15 studio albums, one EP, several DVDs, continues to tour and record. The original lineup consisted of guitarists Michael Wilton and Chris DeGarmo, drummer Scott Rockenfield, bassist Eddie Jackson, lead vocalist Geoff Tate. Queensrÿche has sold over 20 million albums worldwide, including over 6 million albums in the United States; the band received worldwide acclaim after the release of their 1988 album Operation: Mindcrime, considered one of the greatest heavy metal concept albums of all time. Their follow-up release, released in 1990, was very successful and included the hit single "Silent Lucidity"; the band has received three Grammy Award nominations for songs from both albums. In 1998, drummer Rockenfield received an individual Grammy nomination. In 1998, guitarist and primary songwriter DeGarmo left the band for personal reasons. Over the years, his replacements have been Kelly Gray, Mike Stone, Parker Lundgren.
Following a publicized backstage altercation before a show in São Paulo, Brazil, in April 2012, Tate was fired from the band and replaced with then-Crimson Glory singer Todd La Torre. In response to his dismissal and his wife Susan filed a lawsuit in a Washington court, claiming that he was wrongfully terminated; the ruling in the preliminary injunction was that both parties were allowed to use the name Queensrÿche until a court ruling or a settlement decided who would get to use the name. A settlement was reached on April 17, 2014, in which founding members Wilton and Jackson were awarded the rights to the band trademark, continuing to play with the lineup that additionally includes singer La Torre and guitarist Lundgren. During the time, both parties could use the name Queensrÿche, Tate created his own lineup featuring former guitarist Gray and musicians from bands including Blue Öyster Cult, Ozzy Osbourne, Dio, AC/DC and Quiet Riot; this version of Queensrÿche with Geoff Tate released the album Frequency Unknown on April 23, 2013, while Queensrÿche released their eponymous album on June 24 and 25, 2013.
Both bands toured in 2013 and 2014. The foundations for Queensrÿche began in the late 1970s. Guitarist Michael Wilton started the band Joker with friends in 1978, they were joined by guitarist Chris DeGarmo in 1979. In 1980, Wilton met drummer Scott Rockenfield at Easy Street Records in Seattle, they formed the band Cross+Fire together, they covered songs from popular heavy metal bands such as Iron Maiden and Judas Priest, practiced in the garage of Rockenfield's parents which they called "The Dungeon" and fitted with egg cartons as acoustic cladding. Before long, DeGarmo and bassist Eddie Jackson joined Cross+Fire, the band name was changed to The Mob, after the Black Sabbath song "The Mob Rules". In need of a singer for a one-off performance at a local rock festival, they recruited Babylon frontman Geoff Tate. After Babylon broke up, Tate performed a few shows with The Mob, but left because he was not interested in performing heavy metal covers. In 1981, The Mob put together sufficient funds to record a demo tape.
Still without a singer, Tate was once again enlisted to help, much to the disapproval of his then-current band, Myth. The group recorded the four songs "Queen of the Reich", "Nightrider", "Blinded", "The Lady Wore Black", the latter of which Tate had written the lyrics for. For an entire year, they were rejected by all of them; the Mob were offered a management contract by Kim and Diana Harris, the owners of Easy Street Records. However, as Tate remained committed to staying in Myth, the band reluctantly searched for another singer; because the name "The Mob" was not available, their manager urged them to choose a different name. They ran out of ideas, decided to name the band after the first song on their demo tape, "Queen of the Reich"; the spelling "Queensreich" was modified to prevent association of the band with Nazism. The name "Queensrÿche" is written with a metal umlaut over the letter'y'; as the band joked: "The umlaut over the'y' has haunted us for years. We spent eleven years trying to explain how to pronounce it."
The umlaut is used on all of Queensrÿche's releases, except for their 2011 album, Dedicated to Chaos. Kim Harris sent the demo tape and a band photo to a friend who wrote for Kerrang! magazine, resulting in a glowing review. On the strength of the growing buzz that surrounded them in both the United States and Europe following this review, the Harrises released Queensrÿche's demo tape as a self-titled EP on their independent label 206 Records in 1983. After the EP garnered international praise, receiving much airplay and selling an unusual number of copies for a small independent release, Tate agreed to leave Myth and become Queensrÿche's permanent lead singer. On June 29 and 30, 1983, Queensrÿche was the opening act for Zebra in Portland and Seattle respectively. Kim Harris knew A&R manager Mavis Brodey of EMI-America from the time she was the music director of KZOK-FM, he convinced her to come to one of these shows. Brodey offered Queensrÿche a contract with EMI, spanning 15 years and encompassing seven albums.
EMI re-released the EP Queensrÿche to moderate success. The band toured with Quiet Riot through the south and with Twisted Sister to the East Coast and Canada, opened for Dio in Seattle. After the EP tour, Queensrÿche travelled to